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LIBRARY 


<, }M. Knoedler & Co.) 


14 East 57th St. 
New York 


Ohio 


— Cincinnatt, 


rs & 
: SOLD BY AUCTION, WITHOUT RESERVE 


nce eT 


Becinning at 7.300 os ide 


“A t Chickering FLall 


fi ih Avenue and Eighteenth Street 


Ss 


a oS and Evening 
At the American Art Galleries 


| from Saturday, April Ninth, until date of sale inclusive 
(Sundays excepted ) 


AMERICAN ART ASSOCIATION, Managers 


v¢ if OMAS EZ, KIRBY, Auctioneer 


LO 


niall 


é 


sz. The highest Bidder to be he Buyer, and if any dispute arise between feo or 0 ae a 
Bidders, the Lot so in dispute shall be EES put up cee and re-sold. % aL) Cy 
2. The Purchasers to give their names and addresses, ee to pay down a cash ae Sie 2 
or the whole of the Purchase-money, if required : bn default of which, the Lot or Lots 0 ie 
purchased to be immediately ee up again and re-sold, cae a oe Ss 
3. The Lots to be taken away at the Buyer's Lixpense and Rae on the morning follow. 1 
tng each session of the Sale, between g and 12 o'clock, and the remainder of the Purchase. x es 
money lo be absolutely pard, or otherwise settled for to the satisfaction of the A uctioneer, on 
or before delivery ; in default of which, the undersigned will not hold himself responsible ; ee a 
if the Lots be lost, stolen, damaged, or destroyed, but they will be left at the sole vish of the es 


Purchaser. | ; ‘ Ry Ye shes 


4. The sale of any Painting or other object ts not to be set aside on account of any i‘ 
error in the description or defect. All are exposed ie Public Exhibition one or more days, ert 
and are sold just as they are, without recourse. % Mec 

5. Zo prevent june in delivery and inconvenience in the settlement of the Pur- et 


chases, no Lot can, on any account, be removed during the Sale. 


6. Upon failure to comply with the above conditions, the money deposited an part pay- 
ment shall be forfeited ; all Lots uncleared within the time aforesaid shall be re-sold by 
public or private Sale, without further notice, and the deficiency (if any) attending or a re 
sale shall be made good by the defaulter at this Sale, together with all charges attending the 


same. This condition is without prejudice to the right of the Auctioneer to enforce the con- \ Bes 


—_ 


tract made at this Sale, without such re-sale, if he thinks. fit. 


THOMAS E. KIRBY, Auctioneer 


« . 


; 
wey 
ery 
. Copyright, 1887, dy lee <* 
AMERICAN ART ASSOCIA TION ; f nae’: 
fo a 4 ay: 
Press of F. F. Little & Co., Astor Place, New York & 


| Messrs. M. KNOEDLER & Co., /7fth Avenue and 22d Street. 
Ee r. L. Crist DELMONICO (Kohn’'s Art Rooms), Lo. 166 Fifth Avenue, 


She? Messrs, BLAKESLEE & Co., cor, Fifth Avenue and 26th Street. 


Mr. Wi1aM ScHaus, Vo. 204 Fifth Avenue. 
Messrs. REICHARD & Co., Vo. 226 Fifth Avenue. 
Messrs, EDGAR S. ALLIEN & Co., Wo. 174 Fifth Avenue. 


(ine a Mr. os A. LANTHIER, Vo. 22 Last 16th Street. 


Mt 7-2. BF ER. BRETT, Reon 449, Produce Lixchange. 
ipa OrtciEs & Co., Vos. 845 and 847 Broadway. 


AMERICAN ART ASSOCIATION, lVo. 6 Last 23a Street. 


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CATALOGUE 


** Measurements given are in inches, the first figures indicating the width 
of Canvas or Panzl 


No. I 
Confidence 


- 13x16. Dated 1856 


FPLORENT Melt LES, ears 


Born at Littich, fanuary 8, 1823. Medals, at Paris, 1844, 1846, 1855; 
at Brussels, 1843. Chevalier and Officer of the Order of Leopold 
and Legion of Honor. Medal (Exposition Universelle), 7867. First. 
class Medal (Exposition Universelle), 7878. 


No. 2 
The Young Mother 
:. es. a. TRA Vere hs : : é et avs 


Born in 1824 at Paris. Studied with his father and with Leguiens. 
Medals, Paris, 7853 and 1855. 


2 THE PROBASCO COLLECTION. 


VO 
The Consultation 


yy ae ae i Pa Tw e166) 


WILHELM SOFT: : ae Dusseldorf 


Born in 1830 at Berlin. Came in 1847 to Diisseldorf, where he studied 
with his uncle, Karl Sohn, whose daughter he afterward married. 
In 1874 he accepted the position of Professor at the Academy in 
Diisseldorf. Medal, 1867. | 


No. 4 
Bull, Sheep and Goats 
64 X AF ae 


LOTS ROBBE, , mR Sc ; . Brussels 


Born November 17, 1806, at Courtray, Belgium. Was at first a lawyer 
(1830) in Ghent, and in 1840 one of the syndics of Brussels. He 


entered the academy of his native town, and in a few years had | 


earned many medals and other honors. In 1844 he was made a 
Knight of the Spanish Order of Charles Il; in 1845 a Knight of 
the Legion of Honor, and in 1863 an officer of the Belgian Order of 


Leopold. 7 $i 
| No. 5 
Grandfather's Birthday 


9d i 20. Saag 1854 


Ws yah HASENCLEVER,. . Disseldorf 


Born at Remscheid, near Solingen, May 18, 1810. Pupil of Schadow, 
Member of Berlin, Disseldorf, and Amsterdam Academies, Gold 
medal at Brussels, Died at Disseldorf, December 16, 186}. 


- 
Ae saan ange. > eee a 


THE PROBASCO COLLECTION. | 3 


No. 6 
Norwegian Landscape 


42x 33. Dated 1856 


HANS FREDERICK GUDE, Diisseldorf 


Born in Christiania, 1825. Pupilof Andreas Achenbach and of Diissel- 


dorf Academy, under Schirmer. Professor of same institution in 


1854, 0f Art School at Carlsruhe in 1864, and of Berlin Academy in 
Z880. Member of Amsterdam, Rotierdam, Stockholm, Berlin, and 
Vienna Academies. Great Gold Medal in Berlin, 1852 and 1860, 
and Weimar, 1861. Medals, Paris, 1855, 1861, 1867. 


OVO. 7 
Reverie 
IZ f IO 


Seem AVES! AUBERT, . .. Paris 


Born at Paris, 1824. Pupil of Paul Delaroche, and in engraving of 
Martinet, won the prix de Rome for engraving in 1844. Medals 


for painting, Parts, 1861, 1878. 


No. 8 
The Convalescent 


(Sairey Gamp and Betsy Prig) 


irzxg. Dated 1865 


feed DAKKER-KORFL, . The Hague 


Born at The Hague, August 31,1824. Pupil of The Hague Academy, of 
Kruseman, and F. E. F. van den Berg. Died in Leyden, 1882. 


4 Bah.’ THE PROBASCO COLLECTION. 


No. 9 


Summer Landscape 


| 
2/p0p. THEODORE ROUSSEAU, . . Paris 


Born in Parts, 1812. Pupil of Guillon-Lethiere. First exhibited, 
Salon, 1834. Medals, 18 34, 1840, 1855. Legion of Honor, 18 52. 
One of the eight Grand Medals of Honor (Exposition Universelle), 
Paris, 1867. Died, 1867. Diploma to the Memory of Deceased 
Artists, 1868. 


Pie 


Extracts from Notes Sur les Cent Chefs-d’CEuvres, dy 17. Albert Wolff. 


In that group of landscape painters of foremost rank whose destiny 
was to restore modern art in France to the magnificent position of 
RUYSDAEL and HOBBEMA, THEODORE ROUSSEAU Zs unguestionably 
the one who has gone farthest into the secret of nature. To be just, 
JULES DUPRE had pointed him the way; but, when once launched, 
ROUSSEAU had separated from his comrade to pursue his own des- 
tinies. A love for nature had been formed in this tatlor’s son in 
the humble position which he occupied with one of his relations who 
had a saw factory in Franche-Comté. While accompanying his 
employer in his professional tours in search of growing timber, this 
youth, among the trees, came to catch the scent of the grand prin- 
ciples of art, of that theory on which was to rise, later, the mighty 
scaffold of his renown. When he got leave to follow his bent, at 
the age of fifteen years, THEODORE ROUSSEAU was confided to an 
indifferent artist named REMOND, who passed for the foremost land- 
scape painter of the time. He was taught what was then called 
grand art, the kind of “ historical” landscape where figures of the 
Bible or of ancient history strayed through conventional scenery. 
Those proud ones of 1820, those forgotten ones to-day, took no 
notice of the vegetation which surrounded them or of the contempo- 
rary figures circulating through it. “There would not be kept a single 
memory of those painters now were tt not for a ROUSSEAU, @ DU- 
PRE, @ COROT, a DELACROIX, a MILLET, who suffered by them, aya 
whose hapless story cannot be related without at least citing the 
names of the professional ancestors who preceded our group of 


De rics, It was in the environs of Paris that young ROuE: 
eae a SEAU would temper his soul after the deleterious lessons that were 
“a a sought to be forced on him. The illustrious REMOND lost his time 
ta when he endeavored to convince this particular scholar that it was 
, % | mecessary to pass by, with calm and haughty indifference, before the 

_—_ splendors of creation and contrive an art out of counterfeit. 

oat Ateh fe: for THEODORE ROUSSEAU ¢he feeling for verttable art was accom- 

. = panied by a profound love of his native soil. It seemed to him that 

| laa France was sufficiently rich in picturesque sites to inspire a painter. 

JB ares not RUYSDAEL derive a part of his quality from the very fact 
that it is the aspect of his own country which his art celebrates ? 
Was not HoppeMA an immortal landscape painter especially be- 
cause he had developed his genius by the tender study of the land 
where he was born? Was it not mere foolhardiness to try to con- 
struct by theory a world more fine than the actual world, to disdain 
the glories of our forests, the beauties of our plains, to go astray in 
the vagaries of rearrangements of foliage such as was never seen 
but in the pictures of our forefathers? It was an inexplicable 
thing to the young ROUSSEAU that these blind eyes could see nothing 
of the splendors which surrounded them. What, did their hearts 
never beat, did they not feel the intoxication of nature which stirred 
the blood of this stripling? Thetr artificial painting was without 
soul, without emotion, the grandeurs of their native soil escaped 
them, the poesy of our forests remained for them a sealed book, 
these men, had never thrilled to the scenery of home. And they 
called themselves artists ! 

At the period of the French Restoration, the painters of ee were 
the first to rise in revolt against the successful routine of historical 
landscape. But their works were unknown in France, tt cannot, 
then, be said that they showed the road to the great French landa- 
scape artists, they arose but a short time before our own, they 
emerged, as ours did, from the protest of all honest hearts against 
the artificial. The instinct of truth and the need to strike dech into 
nature are innate inhumanity. Separated by the ocean and knowing 
nothing of each other, the English and the French marched by two 
different paths toward the same end. In this awakening of a sin- 


* 
ee 


6 ; THE PROBASCO COLLECTION. 


cere art in either country, France was destined to place herself at 
last in the first rank, and leave far behind her the English school. 
Among the great trench landscape painters who have not only 
guided the national art back again to nature, but whose influence 
was to be so important over the foreign schools, THEODORE ROUS- 
SEAU occupies the highest place, because he ts the most perfect mas- 
ter. The grand aspects of landscape and tts tenderness are equally 
familiar tohim. He renders with the same mastery the smtle of crea- 
tion and its terrors, the broad, open plain and the mysterious forest, 
the limpid, sunbright sky or the heaping of the clouds put to flight by 
storms, the terrible aspects of landscape or those replete with grace. 
Fle has understood all, rendered all with equal genius. The great 
contemporary painters have each a particular stamp, COROT paint- 
ing the grace, MILLET the hidden voice, JULES DUPRE the majestic 
strength, THEODORE-ROUSSEAU has been by turns as much a poet 
as COROT, as melancholy as MILLET, as awful as DUPRE; he ts the 
most complete, for he embraces landscape art absolutely, 


Noo 
The Musical Schoolmaster 


30 428, Dated 1855 


F. DE BRAEKELEER,. ._ . Antwerp 


Born in Antwerp, February 19,1792. LFupil of Antwerp Academy and 
of M. I, Van Brée. Obtained the great prize in 1819, and studied 
three yeurs in Rome. Member of the Order of Leopold, and direc- 
tor of Antwerp Museum, Died 1883. | 


No. II 
Confidence 


TINE lig 


CHARLES Fo PECRUS a 


THE PROBASCO COLLECTION. rl 


IO 12 
Landscape 
Fore ST 3 


1 5G mBOLK-ROLK, ; . Amsterdam 


Lorn at Middelburg, Zealand, October TF. 180 7, ated at Cleves, April 5, 
1862. Son and pupil of Fohannes Hermanus Koek-Koek, marine 
painter, and student of the Amsterdam Academy under Schelfhout 
and Van Os, founder of the Academy of Design at Cleves, member 
of Rotterdam and St. Petersburg Academies, member of the Orders 
of the Lion and of Leopold. Legion of Honor, 1840, Gold medals, 
at Amsterdam, 1840, Paris, 1840 and 1843. 


No. 13 
Stable Interior 


406 x 76 


Born at Milan, May 4,1815. Pupil of Albrecht, member of Munich and 
Vienna Academies , Order of St. Michael. Great Gold Medal at 
Berlin, 1875. 


No. 14 
_ The Musicians 


IS aed 


Pee Vi CeAP BARON,  .  . Paris 


Born at Besangon, Fune, 1816. Pupil of Gignoux, made his début in 
the Salon in 1840, then visited Italy. Medals, 1847, 1848, 1865, 
1867. Member of the Legion of Honor, 1859. 


& LHE PROBASCO:; COLLECTION. 


(aN 0. SG 
Return from the Alps 


20 0 20 Ia ea is 37 


VO0- HEINRICH BURKEL =e 


Born at Pirmasenz, Rhenish Palatinate, May 29, 1802, died in Munich, 
Fune 10, 1869. Pupil of Munich Academy, but mostly formed him- 
self, studying and copying the Dutch masters in the Munich and 


Schleissheim Galleries. Was honorary member of the Munich, 
Dresden, and Vienna Academies, 


LV Oe 
Lhe [lappy Mother 
9? eer 
ba | Sie apeai OF a Pls O) ee , Antwerp 


Born at Grammont, East Flanders, May 14, 1812. Pupil, at Ghent, of 


Van Huffel, and in Antwerp, of Braekeleer. Medal, Parts, 1842. 
Legion of Honor, 1846. 


VO 


Roman Peasant Girl Asleep 


17 x 192 -DPated 15456 


Lge 


LEON. J. FX BONNALES ) oe 


Born at Bayonne in 1833. Pupil, in Madrid, of F. de Madrazo, in 
Paris, of Léon Cogniet, also studied four years in Italy, where he 
painted many small pictures of Italian life. Has painted several 
religious pictures for the Government. Second grand prix, 1858 5 
medals, 1861, 1863, and 1869. Member of the Legion of Honor, 


1867, officer of the same, 1874, commander, 1882, Member of the 
Institute of France. we 


THE PROBASCO COLLECTION. © 9 


No. 18 


Ln the Dog Kennel—Early Morning 


fo weet. Dated 1867 


JEAN MAXIME CLAUDE, . Paris 


Lorn in Paris, Fune 24, 1824. Pupil of Galland. Medals, 1866, 18609, 
and 1872. 


No. 19 


Landscape, Cattle and Dog 


26 « 20. Dated 1867 


Meee WAKIE KOSA BONHEUR, 


Parts 


Born at Bordeaux, March 22,1822. Pupil of her father, Raymond B. 
Bonheur. Began by copying in the Louvre, afterward made studies 
and sketches near Paris. Her first two pictures, exhibited at Bor- 
deaux, 1841, attracted much attention, and were followed by others 
which established her world-wide fame. During the Franco-Prus- 
sian War, her studio and residence were respected by special order 
of the Crown Prince of Prussia. Since 1849 she has been director 
of the Paris Free School of Design for Young Girls, which she 
founded. Elected member of Antwerp Institute in 1868. Medals, 
1845, 1848, 18 5.5, 1867 (Exposition Universelle). Legion of Honor, 
1865. Leopold Cross, 1880. Commander's Cross of Royal Order 
of Isabella the Catholic, 1880. 


F Pain’ 


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KK, Y aide ) € 
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aoe y, aD i id 


IO THE PROBASCO COLLECTION. 


Wor20 


fLarly Morning—Landscape and Cattle 


go x 25. Dated 1866 


Original study for the ‘* Environs of Fontainebleau,” A. T. Stewart Collection 


PRANGOISACGUSTE BON TR. 


Parts 


Lorn in Bordeaux, November 4, 1824. Son and pupil of Raymond B. 
Bonheur, who died 1853. Brother of Mlle. Marie Rosa Bonheur. 


Medals, Paris, 1852, 1857, 1859, 1861, and 18637. Member of the 
Legion of Honor, 1867. Died, February, 1884. 


IN OnreT 
Swiss Landscape 
wi x9 


ALEXANDEK CALAME, 


Born at Vevay, 1810. Pupil of Diday. 
Legion of Honor, 1842. 
Academies. Died, 1864. 


Parts 


Medals, Paris, 1839, 1840. 
Member of St. Petersburg and Brussels 


No, 22 
Girl and Butterfly 


oe id 


GEORGE BROMLEY. . Totes 


CEI ROGASCO \COLLECTION. II 


No. 23 


Landscape 


Bro 
SS UIP... ..... Paris 


Born in Nantes, 1812. As a boy he studied design in the porcelain 
manufactory of his father, but soon turned his attention to lana- 
scape painting, and made his début in the Salon of 1831. Medals, 
Paris, 1833. Legion of Honor, 1849. Medals (Exposition Univer- 
selle), 2867. Officer of the Legion of Honor, 1870. 


Lixtracts from Notes Sur les Cent Chefs-d’CEuvres, dy AZ. Albert Wolff. 


flow has this humble porcelain painter arrived at the position of an 
tmportant master without having ever been the pupil of any one ? 
flow was the ambition born in that young, infantine brain of twelve 
years to bear back landscape art to the magnificence of a CLAUDE 
LORRAINE, of a@ RUYSDAEL, 0f a@ HOBBEMA, before hearing these 
names pronounced and without acquaintance with a single one of 
their works? It was in the contemplation of nature, in his isola- 
tion amidst her influences, that the mind of the lad was open to her 
beauty, and that her mystery was sounded by his thought. In his 
hours of freedom the boy used to wander over the fields with sketch- 
book and pencil. No professor interposed himself between this 
talent in its birth and what it portrayed to dictate any narrow 
formula. What he was ignorant of he asked but of her; what he 
learned was from her teaching. At eighteen, the little china 
painter had become a young master. The crayon studies which the 
great artist to-day preserves from hts early years are sb many sur- 
prises; for they bear witness to a comprehension of nature unique 
for so young aman. In his odd hours, to add to his resources, he 
turned out for a friend of the family a series of clock faces, autom- 
ata in which, by means of springs connected with the movement, 
a sailboat would shoot the arch of a bridge or a hermit ring his 
bell from hour to hour. From these low beginnings emerged our 
grand artist, solely by the influence of nature. 
The art of landscape painting was at that time lost in France. lt was 
despised as a thing of subaltern rank; and this prejudice, notwith- 


&I2 


THE PROBASCO COLLECTION. 


standing the glory which the French school derives from tts illustri- 
ous landscape painters of the present century, continues still in the 
circles of official teaching to such a point that none of the glorious 
French landscape artists have beemw awarded the Salon medal of 


honor. True, they have given it themselves with thetr own hands in 


the sight of posterity by their proud, fine, lasting performance. What 


added still more to the contempt felt for landscape under the Resto- 
ration was, that tt had fallen into the hands of the pigmies. When 
these subalterns were not occupied in servilely carrying on the style 
of POUSSIN, whom they quietly imitated as tf that painter had not 
himself borne his own style to its conclusion, they pieced out pict- 
ures from fragments of their own sketches, as a harlequin costume 
ts made with rags of every color. In summer they went off for a 
booty of sketches, and in winter they stitched these studies together, 
and made of them compositions stuffed with broken stumps of trees, 
burst arches of bridges, waterfalls and precipices. from top to 
bottom the canvas was piled with motivi, ttwas like a card of pat- 
terns of everything that the artist was able to collect on a canvas, 
but where there lacked all emotion in the presence of nature—a 
matter which some of the painters had never felt, and which the 
others spilled on the road in passing from the country whence they 
fetched their sketches to the city where they made them into pict- 
ures. The young DUPRE said to himself, very justly, that since a 
painter would be nearer to accuracy in carrying out his work in 
the presence of the scene, tt would be a good thing to produce pict- 
ures entirely copied from nature, in order that they might catch the 
stamp of feeling and sincerity. The day when he hit upon this 
profession of faith, JULES DUPRE indicated for the French school 
the road to follow, he was the pathfinder of modern art, as he is 


now tts illustrious, respected veteran. 


It was the DUC DE NEMOURS who bought the first picture sent to the 


Salon by JULES DUPRE. The sale made a great notse, this son of a 
king paid twelve hundred francs for the work, for the young 
painter it was substantially the assurance of fortune, and at the 
same time the official consecration of a career. The revolution of 
February sent the duke into extle. The third republic gave him his 
country again. Among the first visitors who came to present their 
respects to the duke on his return to France was JULES DUPRE. The 
prince and the painter looked at each other for some moments, to 
measure the time passed since their separation by each other's 
wrinkled foreheads and whitened hairs, 


SW e Or 4 


fo |. UREA eRROBASCO COLLECTION. 3 


“ Monseigneur,” said the artist, with emotion, “ I can never forget that 
my first encouragement came from your royal highness.” 

“still keep your picture,” answered the prince,“ let us come and see it.” 
The canvas was in fact found in the duchess’ salon. In thts room the 
duke, taking the artist’s arm, said: . 

ae. “Your artis happier than either of us, for tt has not grown old.” 
a | The duke had truly spoken. It is the work that leans directly on na- 
| ture which can outlast the fashions. The revolution of February 
plunged the artist again into oblivion, just as his future opened 
smiling before him. | JULES DUPRE had received two important 
¢ : orders, one from the Government and the other from the Duc 
eae ee. D’ORLEANS, when the revolution broke out. The two pictures, 
sketched out, remain in the artist’s studio. He has frequently of 
late years been offered enormous sums if he would agree to finish 
them, but the old master, still independent as in the day of his 
youth, would be powerless to execute any work to order. 
To-day, as forty years ago, he only paints what ts in his thoughts. He 
ts always the same proud artist who, having gone to housekeeping 
j with forty thousand francs of debts, rejected the offer of a merchant 
| who engaged in writing to liguidate these old obligations provided 
the artist would engage to make some concessions to public taste. 
JULES DUPRE remained hesitating an instant, he seemed by a glance 
to ask the advice of his wife, the latter, worthy of such an artist, 
understood him and replied « 

“Refuse! We shall pay our debts slowly, in time.” 

The debts are long since paid. A competence has crowned the faith of 
the brave household. Children have been reared, and their future 
is assured. Old age has shown a pleasant face to JULES DUPRE, 
and none more than he has deserved the peace of the latter years. 

The amount of his works is great. Sustained compositions, like The 
Pasture, are numerous, the masterpieces count by dozens. The 
Luxembourg Gallery owns two admirable canvases by the painter; 
no collection worthy of the name can be imagined without a picture 
by JULES DupRE; the more remarkable have been sold for a bit of 
read. “Lhe Pasture, representing ten months of toil before nature, 
was purchased for two thousand francs. Le Vanne, that magnifi- 
cent canvas owned by M. VAN PRAET, Minister of the Household 
to the King of the Belgians, brought three thousand. But what 
WAS the amount to him? The money was not an end, but a means 
to go and work in the presence of nature. He borrowed from the 
usurers to be able to keep away from the city. 


THE PROBASCO COLLECTION. 


JULES DUPRE had hired, at four hundred francs a year, a working- 


room in the Abbey of Saint-Pierre, in the midst of the forest of Fon- 
tainebleau. He came but rarely to Paris, and then on his friends’ 
affairs rather than on his own, It was he who forced ROUSSEAU 
on the merchants. Itwas he, too, who peddled the despised works 
of MILLET among a few collectors of his acquaintance, and who 
divined TROYON and protected him. He always fied the great city, 
he regained the solitude of the fields, which had become a necessity. 
Only the country could restore him the serenity of his thoughts. 
fle returned untiringly to l’Isle-Adam, the region of his early in- 
fancy, where he recaptured the enthusiasms of youth. These lovely 
banks of the Oise have always attracted the painters. THEODORE 
Rousseau Jong lived beside DuPRE at l’Isle-Adam. DAUBIGNY 
was not far away at Auvers. COROT gave his kindly smile and 
his cheerful song, from time to time, to DUPRE, whom he finally 
termed the BEETHOVEN of landscape. And truly, if the canvases 
of COROT recalled the adagios of MOZART, the energetic and often 
terrible subjects of DUPRE produced the effect of the symphonies of 
the tmmortal BEETHOVEN. Like him, the great landscape painter 
has invented a new sonorous quality, and has thrown aside the old 
methods to arrive at the maximum of intensity in his art. The 
clouds swept by tempests career over the works of DUPRE with the 
vehemence which BEETHOVEN employed when he let loose his orches- 
tra. Thelandscape artist has constructed on the grand scale, like the 
musician, in the same rank of ideas, and with the same impetuosity 
in going to work. The characteristic mark of the productions of 
DUPRE 7s power arrived at its highest expression. No master has 
more energetically rendered the rumbling, threatening voices of 
nature, its overwhelming effects, before which we collect ourselves, 
humbled and pensive, as we plunge our thoughts in a symphony of 
BEETHOVEN. 


_ Lhe porcelain painter's apprentice of sixty years ago has likewise man- 


aged to perfect his literary education, which was neglected among 
the necessities of his early years. The works of the great writers 
are familiar to him, as if he had passed his whole life in examin- 
ing them. Hets fond of quoting in conversation thz axtoms of one 
author after another, whence he has derived the principles of his 
own peculiar art. Toa purchaser who was teasing him to finish 
a picture in a few hours, with the aid of that sureness of hand 
and eye which he has acquired, JULES DUPRE replied in my pres- 
ence: 


a2 4) wy Ly ) profession ? Why, my poor (oPon 
more to find out and to learn, I could not paint Hee 


his + whol lif of saree and hd Truly, the he day 


ng oe in Ue morning the task of the evening before, ploddingly _ ke 
3 without hesitation, but also without mobility. The day when ae 
_‘Jures DUPRE should open his studio without a thrill and leave it 5 ri 
‘hg — without discouragement, he would consider that he had arrived at 
| ; the end of what he could do—and he would be right. 


ber tV0...24 


# Mother s Pride . ; 
Bo: oa : : 22% 27 | : | _ 
AUGUSTE DELACROIX, | Pas 959° 


Born at Boulogne-sur-Mer, fanuary 27, 1809, died there November, 
1868. Paralyzed during several years before his death, he painted : 
his last works with his left hand. Medals, 1839, 1841, 7846. 


= “No 26 
a The Christmas Fair 


14x18. Dated 18 56 


EDUARD GESELSCHAP, . Diisseldorf 


Born in Amsterdam, March 22, 1814, died in Diisseldorf, Fanuary 5, 
. 1878. Pupil in Wesel of Welsch, then in 1834-41 of Diisseldorf 
Academy under Schadow ; member of the Amsterdam Academy. 


ps wie 
Ay gh, Ve 


VS 


—y 


76 THE PROBASCO COLLECTION. 


No. 26 . 
Memnon at Thebes 


go « 30. Dated 1845 


(Painted for Professor Lepsius in Egypt) - 


Y¥OHANNES FREY, - ~ 


Born at Basle in 1813, died at Frascati, near Rome, in 1865. Studied 
principally in Italy, in 1842 he accompunted Professor Lepsius to 
Egypt, whence, on his return in 1843, he brought many excellent 
sketches. 


No. 27 
Norwegian Landscape 


50% 34 


BARON F. HENDRaS . . Arnhem 


Born at Arnheim, 1868. 


No. 28 
Sunset off the Isle of Fersey 


46 xX 32 


EDUARD HILDEBRAND T, . berlin 


Born in Dantszic, September 9, 1817, died in Lerlin, October 25, 7868. 
Pupil in Berlin of Krause, and in 1841-437 in Paris of Isabey. 

Went around the world in 1862-64, and brought home goo water- 

, colors, which, when exhibited in London in 1866, attracted much 


attention. In 1853, was made Professor of Berlin Academy. 


tHe, RODASCO. COLERCTION. 17 


No. 29 
Landscape—Harvest Time 


go x 28. Dated 1863 


wef /V. HIVNANEEEL, SZ., London 


Born in London, Fune 16, 1792, died at Redhill, near London, Fanuary 
20,1882. Pupil of Benjamin West, Fohn Varley, and of the Royal 
Academy. 


No. 30 


Quarrelsome Terriers 


ax 22 


SIGMUND LACHENWITZ, . Diisseldorf 


Born at Neuss in 1820, died in Diisseldorf, Fune 25,1868. Pupil of 
Diisseldorf Academy. 


WO ST 
A Savoyard 
13x 21. Dated 1866 


Me IE AHRT  )  } Paris 


Born at Grenoble, November 3, 1817. Pupil of David ad’ Angers and 
Paul Delaroche. Abandoned the law for painting on account of the 
success of a picture sent to the Salon, which was bought by the 
Government. Won the grand prix de Rome in 1839, made re- 
peated visits to Italy, medals, 1851, 1855, 1867. Member of the 
Legion of Honor, 1853, officer of the same, 1867, commander, 1874. 
Member of the Institute of France, director of the French School of 
Artin Rome from 1866 to 1873, and again in 1885. 


Sy en Fe ie Mgt aay fe Ser 


IS THE PROBASCO COLLECTION, 


No. 32 
Landscape 


Bie 20 


ADOLPHE WEBER, 4. Bae 


Born at Frankfort, 1817, died 1873. “Pupil of Rosenkranz and Schil- 
bach. 


EvGS 2? 
Landscape, Cattle and Figures 


go x 28. Dated 1865 


E. ¥ VERBOECKHOVEN, eee 
¥EAN ALEXIS ACHARDS 


Verboeckhoven was born at Warneton ( West Flanders), Fuly 8, 1799. 
Medals at Paris, 1824, 1841, 1855. Legion of Honor, 1845. Cheva- 
lier of the Orders of Leopold, St. Michael of Bavaria, and Christ of 
Portugal. Decoration of the Iron Cross. Member of the Royal 
Academies of Belgium, Antwerp, and St. Petersburg. Died, 188r. 

Achard was born at Voreppe, Isére, France, Fune 8, 1807, died in 
Grenoble, October, 1384. Landscape painter, self-taught; went to 
Paris in 1835. Medals, 1844, 1845, 1848, 1855. 


No. 74 
The Card Houses ae 


jf % 20. Dated 18359 


AUGUSTE TOULMOCCHE, am 


Born at Nantes in 1829. Pupil of Gleyre. Medals, Paris, 1852, 18 59, 
1861, 1878. Legion of Honor, 1870. 


Ae ee 


THE PROBASCO COLLECTION. IQ 


No. 35 
Penelope 


20x 40. Dated 1868 


CHARLES F MARCHAL, . Pari 


Born in Paris, 1825, died there March 31,1877. Pupil of Drélling and 
Dubois. Improved and prospered until 1876, when he lost his eye- 
sight, and in despair committed suicide. Medals, 1864, 1866, and 
187}. 


V6. 76 
Old Letters 


5x 20. Dated 1867 


¥ G. MEVER, VON BREMEN, Bertin 


Called, from his birthplace, Meyer von Bremen. Born October 28, 1873. 
Pupil of Sohn. Member of the Amsterdam Academy. Gold Medal 
of Prussia, 1850. Medals at Berlin and Philadelphia. Died, 1886. 


No. 37 
Winter Sport 
eG UBL 


Mento HLLGERS, - . Diisseldorf 


Born in Diisseldorf in 1818. Pupil of Diisseldorf Academy, spent 
some time in Berlin and studied the Dutch and French masters. 


20 THE” PROBASCOVCOLILACT ION, 


No. 38 
Holland Interior 


23x18, Dated 1866 


wr A ht HEVEIGLRS . Antwerp 


No. 39 
Dutch Market 


16x 173. Dated 1846 


x) BARON HENDRIK LEVS, . Anwap 


Born in Antwerp February 18, 1815, died August 25, 7869. Pupil of 
his brother-in-law, f. de Braekeleer, and of Antwerp Academy 
under Wappers. Great Gold Medal, Brussels, 1835, Paris, 1855 
and 1867. Member of the Order of Leopold, 1840, officer of the 
same, 1856; commander, 1867, Legion of Honor, 1862; made 
Baron in 1862, member of the Brussels Academy, 1845. 


Vo. 40 


Lar from Flome 


28 x 21. Dated 1867 


ERNST HOS ; . Disseldorf 


Lorn at Crefeld, Germany, in 1834. Pupilin Wesel, of Schex, Sohn, 
Hildebrandt, and Schadow. 


LHE PROBASCO COLLECTION. 2I 


UNO. ft 
Bull and Dog 


pel 7e Dated 1858 


Pe COU ES ig BRASCASSA T, er eres 


Born at Bordeaux, August 30, 1805, died in Paris, February 27, 1867, 
Pupil of Richard and of Hersent. Won the second grand prize for 
historic landscape in 1825. Medals, Parts, 1827, 1831, and 1837. 
Legion of Honor, 1837. Member of the Institute of France, 1846. 


No. 42 
The TLorturers of Cupid 
44 © 30 


me DOUARD DE BEAUMONT. Paris 


Born at Lannion, France, in 1821. Pupil of Boissetier. Medals, 1870 
and 1873. Member of the Legion of Honor, 1877. 


No. 43 
The Golden Wedding 


44x35. Dated 1854 


Ia KEI BER,«. . ... Antwert 


Born in Antwerp, February 19, 1792. Pupil of Antwerp Academy and 
of M. I. Van Brée. Obtained the great prize in 1819, and studted 
three years in Rome. Member of the Order of Leopold, and director 
of Antwerp Museum, Died, 188 3. 


\ 


22 THE PROBASCO COLLECTION. 


BVO ar 


Autumn's Golden Crown 


| j2 % 20, Dated F557 
y f) | 
S00. VICAT COLE RA, . 


Born at Portsmouth, England, 1833. Son and pupil of George Cole. 
Elected Associate of the Royal Academy, 1870, and Royal Academt- 
cian in 1880, 


No. 45 
Day Dreams 


36x46. Dated 18 59 


THOMAS ECO Ce tae a 


Born at Senlis ( Oise), December 21, 1815, died in Villiers le Bel ( Seine- 
et-Oise), March 31, 1879. Pupil of Gros and Paul Delaroche. 
Won second grand prix de Rome, 1837; medals, 1844, 1847, and 
1855. Legion of Honor, 1848. 


No. 46 


Russian Landscape, Florses and Figures 


60 x 36. Dated 1867 


APOLPHE SCHREVER,.. =. 


Born at Frankfort-on-the Main, 1828. Belonging to a distinguished 
family, this artist enjoyed every advantage of travel and instruc- 
tion. In 1855 he followed the regiment commanded by Prince Taxis 
to the Crimea, making many spirited studies. Medals, Paris, 1864, 
1865, 2867 (Exposition Universelle) ; Brussels Exposition, 1863, and 
Vienna Exposition, 1873. Cross of the Order of Leopold, 1864. In 
1862 he was made Painter to the Court of the Grand Duke of Meck- 
lenburg-Schwerin. Member of the Academies of Antwerp and Rot- 
terdam, and Honorary Member of the Deutsches Nochstift. 


THE PROBASCO: COLLECTION. 29 


No. 47 
The Toast 


ge tag. Dated 1855 


mee VKER |. . .  . Disseldorf 


Born at Stockholm, May 5, 1829, died at Diisseldorf, March 24, 1866. 


No. 48 


Landscape, with Florses and Figures 


jO «© 20 


Mm eVERSCHUUR : ; ; . Amsterdam 


Born at Amsterdam in 1812, died at Rotterdam in 1874. Pupil of 
Van Os and C. Steffelaer. Gold medal of the order “ Felix Mert- 


tis” in 1831, silver medal of the same order in 1822. 


No. 49 


Forest at Fontainebleau 


ara al. Dated 1667 


aa VORE ROUSSEAU ©. Paris 


Born at Paris,1812. Pupil of Guillon-Lethiere. First exhibited Salon, 
1834. Medals, 1834, 1849, 1855. Legion of Honor, 1852. Grand 
Medal of Honor (Exposition Universelle), Paris, 7867. Died, 1867. 
Diploma to the Memory of Deceased Artists, 1868. 


THE PROBASCO COLLECTION. 
No. 50 
The New Robe 


12415, Malea 3500 


6&5. ALFRED STEVENS... 2 


4 rn 
) 


Born at Brussels, 1828. Pupil of Navez in Belgium, and Roqueplan at 
Paris. Medals, Paris, 1853, and at Expositions Universelles of 7855, 
1867, and 1878. Legion of Honor, 1863, officer of same, 1867, 
commander, 1878. Officer of the Order of Leopold; Commander of 
the Order of St. Michael of Bavaria, Commander of the Order of 
Ferdinand of Austria, 


IV Os ane 
Dolce far Niente 


Ws cae 


LLP Nie CAM ORO SHG: Brussels 


No. 52 
Vision of Fubertus 


32 X 42 


THEODOR BGS UO tae. 


MOE EROBASCO, COLLECTION. 25 


No. 53 
The Women and the Secret 


(La Fontaine's Fables) 


40 x 56. Dated 1867 


Meer) MERIT Paris 


Born at Saint Marcellin, France, March 1, 1823. Pupil of Léon Cogntet. 
Medals, 1861, 1863. Legion of Honor, 1866. Died in Paris, March 
26, IS8I. 


No. 54 
Naples (en route & Pompeit) 


58 «gO 


OSWALD ACHENBACH, . Diisseldorf 


Born at Disseldorf, February 2,1827. Brother and pupil of Andreas 
Achenbach. Medals, Paris, 1859, 1861, 1863. Legion of Honor, 


186}. 


No. 55 


Muleteers and Water Carriers of the 
Alhambra 


39 «x 60. Dated 1866 


POM ARD ANSOELL, R.A., . London 


Born in Liverpool in 1815, died in April, 1885. Self-taught, elected 
Associate of the Royal Academy, 1861, Royal Academician, 1870. 
Medal, Paris, 18 55. 


eles THE PROBASCO COLEEACTION. 


No. 56 
The Christmas Tree 


2rx is. Dated 66g 


. EDUARD-GESELSCHAP, . Gage 


Born in Amsterdam, March 22, 1814, died in Diisseldorf, Fanuary §, 


1878. Pupil of Welch and Disseldorf Academy. Member of Am- 
sterdam Academy. 


No. 57 
lhe Zealand Farmer 


10 2G 


\0~ ADOLF DILLENS,.. a 


Born at Ghent, Fanuary 2, 1821, died there in 1877. Brother and 
pupil of Hendrik Dillens. Medals, Brussels, 1848, 1850, 18545 


Paris, 1855. Member of the Order of Leopold, 1862, member of 
Amsterdam Academy, 1866. 


Lo. 58 


Flowers — 


To 3xverT 


GHEORGHE HARRISON, 


HET ERUSASCO COLLECTION. 27 


| No. 59 
Charles IX., Feve of St. Bartholomew 


(Painting on porcelain after Baron Wappers) 
19X10 


I aE re KOO» 


No. 60 


Landscape 


(Pen Drawing) 


Baits. Daled T1307 


JOHANN Se I SCHALTN St. Petersburg 


Born, Fanuary 13, 1827, at Felabuga (Government of Wjatka), Rus- 
sia. Studied at the Art School in Moscow and at the Academy in 
St. Petersburg, where he took the great prize in 1863. Hets a pro- 
fessor in St. Petersburg, a member of the Academy, and Knight of 
the Order of Stanislaus. 


ve Or 
A Young Family 


T0Ge 7 


GUSTAVE BELO» , Diisseldorf 


Born in 1823 at Rumbeck by Rinteln-on-the-Weser. In 1850-51 he was 
a student at the Academy in Diisseldorf, where later he set up his 


own studio. 


LHE PROBASCOVCOLLACTION, 


No. 62 
Scene in Algiers 


IS #% 27. (Dawa s7 


a” a ee 


rm 
to 


700. EUGENE FROMENTIN, | 9 


Lorn at La Rochelle ( Charente-Inférieure), October 24, 1820, died at St. 


Maurice, near La Rochelle, August 27, 1876. Pupil of Rémond and 
Cabat. Visited Algiers in 1846-48 and in 1852-53, and brought 
home many sketches, from which he painted his characteristic pict- 


ures of Oriental life. Hewas the author of a successful romance, 


“Dominique” (1863), and admirable works on art. Medals, 1540, 


1857, 1859. Legion of Honor, 1859, officer of the same, 1869. 


Lxtracts from Notes Sur les Cent Chefs-d’CEuvres, dy MW. Albert Wolff. 


In France art lived for a long time on an Orient of imagination, where 


violent colors shocked each other in the sunshine and spluttered with 
a thousand disorderly fires. The actual Orient ts something quite 
different. The transparence of the atmosphere stretches something 
like a tint of silver gray, of exquisite delicacy, over the landscape, 
itis soft and harmonious, not violent and showy. The first time I 
watched Stamboul frou the bridge of the Bosphorus, at the setting 
of the sun, I was surprised at the difference between the Orient 
conventional and the Orient of reality. The firstis an agglomera- 
tion of violent tints where objects and people are arranged in stl- 
houettes on a fiame-colored sky, the last is a gentle, penetrating 
harmony. No artist has better rendered the true Orient in tts dis- 
tinction of color than EUGENE FROMENTIN. fe was not satisfied 
with studying Africa in the pro@ucts of his predecessors. He had 
seen it with eyes of his own, and estimated it with his personal 
thoughts, as a poet with melting heart, an observer with delicate 
fidelity. In this delightful artist the painter's talent was enhanced 
by very decided literary aptitude, and thus in his works he not only 


paints Africa, he narrates it, 


The first time I saw a picture by FROMENTIN, at the Salon of 1863, I 


think, I was immediately struck by the revelation of the veritable 
Orient which the painter had brought for us. lt was the famous 


THE PROBASCO COLLECTION. 29 


Arab Falconer, which the artist exhibited at that period. The 
horseman was galloping through a wide landscape, carrying a fal- 
con which seemed about to fly. Into that simple scene FROMENTIN 
had contrived to put all the grandeur and all the poetry of African 
desert scenery and the Arab. The man who could express so many 
sensations in such a subject was evidently a poet himself, that is to 
say, a nature sensitive and open to all the seductions of the ani- 


mated creation. Criticism has often reproached FROMENTIN for 


making too many sacrifices to the literary side of his subjects, that 
zs to say, for having dwelt too much on the anecdote expressed in 
his pictures. But tt is not forbidden in art, that I know of, to tell 
the world the peculiarities of a distant civilization and put before 
the public eye its veritable character with a wealth of minute de- 
tails\and with a grand descriptive power. The utmost that can 
be said of FROMENTIN 7s, that he has spread, here and there, over 
his own particular Orient, something like avarnish of Parisian ele- 
gance,; this proceeded rather from the naturally perfect distinction 
of the man, who conferred on his Arabs the grace of his own indi- 
viduality. In this delicate artist the brain was fundamentally 
refined, so that whatever the eye regarded assumed in the thoughts 
of FROMENTIN @ poetical cast. very artist of worth finds tt im- 
possible to quite separate his work from his personal sensations. 
It ts really by this that the great painter ts distinguished from the 
artist of secondary rank, the latter is oftenest furnished merely 
with the painting eye without the artist spirit, he renders marvel- 
ously what he can see, without adding the thrill of the soul. Any 
art work which does not let us likewise look into the privacy of tts 
author remains in an inferior rank, whatever may be the skill of 
the craftsman. EUGENE FROMENTIN ?s revealed from head to foot 
in his pictures. He was a being of rare distinction, one who enno- 
bled, in some aspect, whatever passed through his mind. He has 
regarded and painted the Orient like a poet. In his Arab hordes 
camping in their bivouacs or crossing the desert, he has not chosen 
to see the reavity of things or the details of their degradation, as 
the hand of the craftsman played over the canvas, the spirit of the 
artist was careering with a poet's flight through space. When he 
paints the Arab at rest with his horses browsing untethered beside 
the tent, heis awed by the mysterious grandeur of such a scene, in 
the desert silence, under the limpid sky where the stars are shining. 
When he paints him in action, he perceives him as a manifestation 
of the tameless restlessness of a wandering historical tribe, a being 


jo THE PROBASCO COLLECTION. 


| who has never learned to measure and restrain his movements. 
| Fle always and everywhere confers upon the creature of the Orient 
: the real grace, the distinction of the whole race. And the thoughts 
: of the artist are so overflowing with this subject that frequently he 
i jinds the art of painting inefficient before the burden of all he has to 
| _ express. Then he lays down the palette and seats himself at the 


| table before his inkstand, he writes charming works about the 


Orient, where at every line the painter reveals himself through the 


| man of letters, even as his pictures reveal to us without difficulty 
i the literary man in the painter. . 

i * Those who estimate the value of a work of art from the scale of the 
i figures used often to blame FROMENTIN for always restricting his 
works to small proportions, just as tf such and such a tale of 
| MERIMEE’S, for instance, was not worth a novel of several volumes 
| by some one else. But even if we admit that FROMENTIN himself 
| condemned as inferior his figures of grand dimensions, ts tt not a 
| proof of the fine sense of an artist when he recognizes and judges 
his own faculty and conforms himself toit? Nor iswhatts called 
grand art always large art. It was not the comprehension of vast 
dimensions which this choice spirit lacked. FROMENTIN wrote 
about the Masters of Yore, a volume of studies which shows how 
thoroughly his mind was open to the grand works of past centuries. 
He was content to admire them, without attempting to tmitate 
them, ° . 


No. 63 


Landscape and Cattle 


32 820 


FULES DUPRE, a 2... 


Born in Nantes, 1812. As a boy he studied design in the porcelain 
manufactory of his father, but soon turned his attention to land- 
scape painting, and made his début in the Salon of 1831. Medal, 
Paris, 1833. Legion of Honor, 1849. Medal (Exposition Univer- 
selle), 7867. Officer of the Legion of Honor, 1870. 


-. Parts 


2 Born at Bordeaux, August 21, 1808. His parents were banished Srom - 
Spain o on account of political troubles, and at ten years of age Diaz 

was left an orphan in a strange country. At fifteen years of age an 
Ome was apprenticed to a maker of porcelain, where his talent first : 4 
a displayed itself. He quarreled with and left his master, and sub- a 
' sequently spent several years in most bitter poverty. After his abil- 

ity as a most wonderful colorist was recognized, Diaz painted and 


_ sold many pictures, working even too constantly, as if endeavoring i 
by the accumulation of avast fortune to avenge the poverty of his = ‘ 
youth. Medals, 1844, 1846, 1848. Legion of Honor, 1851. Died, ; 
from the bite of a viper, November 18,1876. Diploma to the Mem- 4 
ory of Deceased Artists (Exposition Universelle), 7878. a 

, 

* 

Py: 

‘a 

z, 


Extracts from Notes Sur les Cent Chefs-d’CEuvres, dy AZ. Albert Wolff. 


| 
| 


In the group of painters beyond the average, DIAZ DE LA PENA is the 

| great artist of the fantastical. Anything serves himas a pretext 

for bringing to light his marvelous aptitude as a colorist. He has 

not the science of ROUSSEAU nor the poesy of Coror, still less the 

CRUE e grandeur of Duprk. He renders the enchantments of the 

landscape flooded with sunshine or the forest plunged in luminous 

twilight, with beams filtering through the thick leafage, he daz- 

_ ales the eye with all the seductions of a grand colorist, by these ob- af 
vious gualities, which affect even the uninitiated spectator, he gets 
closer to the latter than other landscapists of the time. He ts the 
grand virtuoso of the palette, making sport of difficulties. With 
him everything is of the first impulse, his work ts thrown off with 


eed) rie Si : “ih 


32 


ee, oe) Le 


THE PROBASCOKCOLLILC’? LON: 


brio; the enchantment of the color carries it along. We can imag- 
ine him in the solitudes of the forest of Fontainebleau, making the 
wooden leg resound on the earth and singing with all his lungs to 
let off his exuberant nature. The countrymen whom MILLET 
stopped to regard with compassionate thoughts did not attract him. 
fle dots the pond-side, where the sun gleams, with peasant girls, 
mere little red touches. In his sun-gilt landscapes DIAZ puts such 
jigures as offered, by their costumes, a pretext for the wealth of his 
palette. The Descent of the Bohemians zs the fullest expression of 
this style; here allis life and air, the band ts coming down a steep 
path; through the foliage the sun rains down its beams and floods 
the whole picture with a transparent and luminous half-light, it 
is a perfect dazzle to the eye, like all the works of this great color- 
ist. From the Orient, as he passes through tt, he only collects the 
remembrances of silky stuffs and golden embroideries, spreading 
forth their pride in the sun, from Italy he only preserves the 
method of the colorist VERONESE, whom he often equals in the attrac- 
tiveness, tf not in the conception, of his work, As for mythology, 
it is merely his excuse for modeling in full impasto and in open 


daylight the nymphs and the Dianas. 


Diaz was above all an improvisator and a creator of fantasies. He 


himself acknowledged what was lacking in his pictures to place 
them quite in the first rank. He found himself overflowed with 
those powers of color which constitute his glory, but to which he 
sacrificed the rest. Yet we hardly detect the occasional want of 
completeness in the forms of his figures, so entirely are we under 


the charm of the color. 


The coming on of winter was always dangerous to him. In 1876, Diaz 


felt himself attacked by an affection of the chest which rendered all 
work impossible. He went to Mentone, where for an instant he 
seemed to revive with a new extstence. Jt was there that he exe- 
cuted his last pictures. Death took him by surprise, still at his 
work. lt was impossible to overcome this character, still full of 
energy, during the final sickness, unless by taking the brush from 
his hands and shattering it. Broken at once in frame and in spirit, 
Diaz did not resist longer. Without his work, life offered no at- 
traction. From his death-bed, through the open window, he beheld 
the'landscape bathed with sunshine, and the great enchanter died 
while looking his last on the day-star which inspired all his 


work, 


Ure ty ae 


THE PROBGASCO COLLECTION. SF 


No. 65 
Our Little Family 


gx. Dated 1867 


foe) AR PD ee Yy ERE, Berlin 


Born in Berlin, October ro, 1838, died at Marburg, April 5, 1880. 

Genre painter, son of Friedrich Eduard Meyerheim. Pupil of Ber- 

lin Academy. 

No. 66 
Winter in Holland 
Is mere. Dated 1858 
: 
Beyone SCAHELIAIOUTL, . The Hague oy 
Born at The Hague, 1787, died, 1870. Member of all the academies in 
Folland. 


Medals in Antwerp, Brussels, Ghent, and The Hague. 


No. 67 


Landscape 


(Pen Drawing) 


JOHANN SCHISCHKIN., .'s2. Petersburg 


Born Fanuary 13,1827, at Felabuga ( Government of Wyatka), Russia. 
Studied at the Art School in Moscow and at the Ac@demy in St 


Petersburg, where he took the great prize in 1863. He isa pro- 


fessor in St. Petersburg, a member of the Academy, and Knight of 
the Order of Stanislaus. 


54 THE PROBASCO COLLECTION. 
No. 68 
Vanity and Modesty 
GL E27 | 


LEONARDO DAMANG (ATTRIBUTED 70) 


Na, 09% 
Les Arabes en Egypt 


gO 445. Dated 1867 


_“ADOLFHE SCHKEAYV LAK, (a 


wv 


Born at Frankfort-on-the Main, 1828. Belonging to a distinguished 
family, this artist enjoyed every advantage of travel and instruc- 
tion. In 1855 he followed the regiment commanded by Prince Taxis 

i to the Crimea, making many spirited studies. Medals, Paris, 1864, 

| 1865, 1867 (Exposition Universelle) ; Brussels Exposition, 1863, and 

Vienna Exposition, 1873. Cross of the Order of Leopold, 1864. In 

1862 he was made Painter to the Court of the Grand Duke of Meck- 

lenburg-Schwerin.. Member of the Academies of Antwerp and Rot- 

terdam, and Honorary Member of the Deutsches Nochstift. 


No.. 70 


Titian's Daughter 


2 
e s 


(After Titian) 


BS) MOF 


THE PROBASCO COLLECTION. D5 


ONO mal 
The Lsputed Bonnet 


224-77, Dated-1866 


EES VERLAT. © | Antwerp’ 


Born at Antwerp, 1824. Professor of the Antwerp Academy. Pupil 
of Nicatse de Keyser. Chevalier of the Legion of Honor. 


1Y0,..72 


Interior with Figures 


T6.X%-20 


MEGOR VAN HOVE, . . Ports 
Og aigg PRI LITEM S. : : a Lares 


Victor Van Hove was born at Renaix, 1825. Member of the Order of 
Leopold. Medals, in Paris, 1863, and in Vienna, 1873. 

Florent Willems was born at Littich, Fanuary 8, 1823. Medals, at 
Paris, 1844, 1846, 1855, at Brussels, P843. Chevalier and officer 
of the Order of Leopold and Legion of Honor, Medal (Exposition 
Universelle), 7867, first-class medal (Exposition Universelle), 7878. 


| No. 73 
The Forge in the Tyrol, Winter 
40% 34 


RICHARD ZIMMERMAN, . Munich 


“) a) pe 
y ‘ 


36 - THE PROBASCO COLLECTION. 


No. 74 


Faster Morning 


46 x 35. Dated 1868 


2es THEODORE C. SCHUTZ, . Dissedonf 


7 


Lorn March 26, 1830, at Thumlenjen, by Freudenstadt in Wirtemberg. 
began with the study of law in the office of a notary, but in 1849- 
54 studied in the Academy at Stutigart under Rustige, Neher, and 
Steinkopf, and painted there the picture which first gave him rep- 
utation, Confirmation Morning. Jn 7854-57 he worked in Munich 
by himself; but in 1857-637 he entered the Academy and studied 
under Filoty. After traveling in Italy and Germany, he finally 
established himself in Diisseldorf. 


No.5 


Cupid’s Messages to the Graces 


36 «x 50. Dated 1853 


l..G. E. ISABEY. | 


Lorn in Paris, Fuly 22, 1804, died in Paris, April 26, 7886. Son and 
pupil of Fean Baptiste Isabey. Ln 1830 heaccompanied the Expe- 
dition to Algiers as Royal Marine Painter. Medals, Paris, 1824, 
1827, 1855. Member of the Legion of Honor, 1832, officer of the 
same, 18 52. 


‘ 
Pt 


4 a 
oe 


at 


Entering the Woods 


920 


Ae 1862. Son and pupil of Fohannes Hermann Koek-Koek and a 
student of Amsterdam Academy under Schelfhout and Van Os. 
m Founder of the Academy of Design at Cleves, member of Rotterdam 

and St. Petersburg Academies, member of the Orders of the Lion 

oer and of Leopold, Legion of Honor, 1840. Gold medal at Amsterdam, 
iy 1840, Paris, 1840 and 1843. 7 


V0. 2A 


Francis T. at Fontainebleau 


60 « 38. Dated 1869 


_ NICAISE DE KEYSER, .. Antwerp 


4 


Born at Sandvliet, near Antwerp, August 26,1813. History and genre 
painter, pupil of Foseph Facops and of Antwerp Academy under 
Van Brée. Great gold medal at Brussels, 1836, Paris, 1840, and 
medals at almost all exhibitions in Belgium and Holland. Member 
of the Order of Leopold, 1839; officer of the same, 1855; Bavarian 
Order of St. Michael, 18 5ST Order of the Lion, 1844; Commander of 
the Order of the Oaken Crown, 1857; Swedish Order of the Folar 
Star; Wirtemberg Crown Order, Legion of Honor, 1862; director 
of the Antwerp Academy, 1855. 


SA 


IS LHH' PROBASCO’ COLLECTION. 


No. 78 
Winter Landscape, Castle and Figures 
, SIX 34 : 


)). KARL Vo NOR OIA Kies ' », « dissetiar 


Born tn Diisseldorf, 1818. Pupil of Diisseldorf Academy. Spent some 
timein Berlin and studied the Dutch and French masters. 


No. 79 
Florentine Flower Girl 


98 x 50. Gated 1867 


Frame fine specimen of Florentine carving 


M1 Ce ee GORDIGIANT, ..  Lloreuce 


No. 80 
Clorinda Delivering the Martyrs 


(From second canto Tasso’s ‘‘Jerusalem Delivered”) 
j2 x go 
\ 
F.V. EUGENE DELACROIX, . Paris 


Born at Charenton St. Maurice,*near Paris, April 26, 17909, died in 
Parts, August 13, 1863. lupil of Guérin. Exhibited in 1822 his 
Dante and Virgil, which won him great reputation. Member of 
the Legion of Honor, 1831, officer of the same, 1846; commander, 
1855. Member of the Institute of france, 18 57. 


Fextracts from Notes Sur les Cent Chefs-d’CGEuvres, dy AZ. Albert Wolff. 


The controlling note in FUGENE DELACROIX’S painting ts the dramatic 
note. We might say of him that he ts the SHAKESPEARE Of art, he 


THE PROBASCO COLLECTION. 39 


has the great author's majesty of conception, his art of painting a 
character ina few strokes, and his power of color. That which 
interests him tis the drama of all epochs, of every literature, and of 
every place. The Bark of Dante zs only the first step, to which suc- 
ceed those memorable masterpieces, The Scio Massacres, Tasso 
among the Madmen, The Assassination of the Bishop of Liége, The 
Amende Honorable, Jacob Wrestling with the Angel, The Bark of 
Christ, Hamlet and the Gravedigger, The. Morocco Coast, The Bar- 
ricade, The Death of Sardanapalus—JU¢tle imports the subject. 
Whether he dip in profane or sacred history, in historical anecdote 
or in the life of the wild beast, it is the drama and always the 
drama which thrills in his magnificent canvases, which inspires 
and overcomes us in the contemplation of his works; the drama 
which shakes the soul because we feel that the soul of, the great 
painter is in it, he overthrows us by the sublimity of the present- 
ment, the energy of the execution, the magic of his color. In Ev- 
GENE DELACROIX genius did not wait for years, it burst forth at 
the first stroke, powerful, and, so to speak, in its highest expression. 
Flere the effort of the start is no mere indication by which to fix a 
point of departure. It ts the representation of the whole career, 


it is as the manifesto, as the programme never departed from, cf 


a long, glorious artistic reign. In truth, whatever the works to 
come shall be like, the first canvas shows their intellectual germ, 
what DELACROIX occupies himself abut, what moves him, is the 
drama, The subject ts no great thing for this grand artist, té ts 
naught but a pretext; the dramatic impression proceeding from it 


is everything. 


EUGENE DELACROIX had taken from the chilled hands of GERICAULT 


the banner of that revolt which this great genius had raised 
against the correct and frigid art born of science, without one throb 
of the soul, he carried tt proudly and aloft across a hundred bat- 
tles, to the very end, for the glory of French painting in our century. 
He became the chief of the new school, called romantic, of which 
VicToR HuGO was the apostle in literature. Like the grand poet, 
the illustrious painter was vilified, attacked, and hissed, His art 
triumphed, even like HUGO'S, over all tts opposers. It forced itself 
slowly on the public, through innumerable battles. Now it ts the 
pride of our painting school, as the works of HUGO are the radiant 


glory of our French nineteenth century literature. 


His unappreciated masterpieces accumulated in his plain, simple studzo, 


and the great artist felt no discontent, DELACROIX was one of 


gO 


THE PROBASCO. COLLECTION. 


those tempered souls who rely for their satisfactions on the secrets 
of their work, with an impartial contempt for adulation or for in- 
sult, He had arranged his life in his own fashion, and above ali, 
in such sort that nothing was to disturb him from his art. Ex- 
cepta few sparse familiars, to whom were later added the princes 
of Orléans, no one could penetrate his existence, even woman's 
influence, tf tt ever colored his life, left no trace there. No one 
might boast of having diverted the great artist from his art; no 
one ever had empire over him. The flatteries of men and the al- 
lurements of women remained equally ineffectual for that iron will, 
which would not let itself be indented. It ts thus that DELACROIX 
was able to leave such voluminous productions. We should be 
much deceived if we conjectured thatthese masterpieces, apparently 
executed so freely, had come without effort, they are, on the con- 
trary, the result of painful toil and incessant hesitations. If the 
artist's pains do not appear in them, they were none the less formt- 
dable and often agonizing. Before these admirable productions 
hostile routine was obliged to lay down tts arms at length. The 
renown of DELACROIX ceased not to grow in the midst of the tumult 
provoked by his style. The Institute, which had reviled him, com- 
prehended thatit must needs make a compromise with the master 
who contemned it. And now this mutineer, this insurgent, this 
revolutionary, is about to enter the Academy. What protests and 
what alarms! Annibal ad portas! DELACROIX undertook the siege 
of the Academy, and went to seat himself, with a smile on his lips, 


among his worst enemtes. 


The death scene of DELACROIX ts of ttself an imposing drama. He had 


lived alone, and he wished to diein peace. When he felt the su- 
preme solution approaching, he directed his faithful housekeeper, to 
receive no one whatever, sent for a lawyer, and dictated to him his 
final will with remarkable calmness and with that lucidity of mind 
which only left him with his last sigh. Then he firmly awaited 
death, without a shudder, without a complaint, without a regret. 
He died self-concentrated, as he had lived, without bravado as 
without weakness; netther complaint nor challenge, in the face of 
this death which steadily advanced. He passed away in a last 
smile,asaman who had well employed his life, and who was sure 
that his name would be a possession of posterity. 


PEO FRODASCO” COLLECTION. GI 


No. 81 
Syrian Shepherd 


Gy io. Dated 1867 


Mea LEON-GEROME, © © pri 997741 


Born at Vesoul, France, 1824. Went to Paris in 1841, and entered the 
studio of Paul Delaroche, at the same time following the course of 
’Ecole des Beaux Arts. Juz 2844 he accompanied Delaroche to 
Italy. He made his début at the Salon of 1847. In 1853 and 18 56 
he traveled in Egypt and Turkey, studying closely the history and 
customs of those countries, Medals, Parts, 1847, 1848, 1855 (Ex- 
position Universelle) ; Medal of the Institute, 1865, Medal of Honor 
(Exposition Universelle), 7867 , Medals of Honor, 1874 5 Medal for 
Sculpture and one of the eight Grand Medals of Honor (Exposition 
Universelle), 7878. Legion of Honor, 1855, officer of the same, 
1867; commander, 1878 ; chevalier of the Ordre de |’Aigle Rouge, 
and member of the Institute of France, 1878. Professor in l’Ecole 
des Beaux Arts. 


| No. 82 
Avenue of Beeches, Winter : 


48 x 28. Dated 1865 


moe Fe ede : ‘ : The [lague “a . 


No. 83 
Fruit and Flowers 


72.2440. Dated 186r 


piel. Le OL. HAANEN, : : Vienna 


42 THE PROBASCO COLLECTION. 


No. 84 


Religious Instruction in an Israelitish 


Flousehold 


52x 38. Dated 1868 ie 


Born at Presburg, Hungary, April 17, 1821, died in Paris in 1876. 


Paris, where he became naturalized and adopted Isabey’s style. 


Wve & 


— Spanish Peasants 


64 .*« 42, Dated 1867 


| i ‘ae Vergaise BLD . ‘, ; ; : Seville 


| | 

| | No. 86 
Autumn Landscape 
22 a20 


THEODORE ROUSSEAU, = 


Born in Paris, 1812. Pupil of Guillon-Lethiere. First exhibited, Salon, 
| 1834. Medals, 1834, 1840, 1855. Legion of Honor, 1852. One of 
| the eight Grand Medals of Honor (Exposition Universelle), Parts, 
1867. Died, 1867. Diploma to the Memory of Deceased Artists, 
1868. 


0/0. KARL HERBSTHOFFER, . Paris 


Pupil of Vienna Academy under Amerling, went afterward to — 


- oo ae = 
— 2 is > = 


THE PROBASCO COLLECTION. 43 


No. 8&7 


hohemians 


F274 9 


ma, DIAZ DE LA PENA, 


Born in Bordeaux, 1808. His parents were banished from Spain on 
account of political troubles, and at ten years of age Diaz was left 
an orphan in a strange country. At fifleen years of age hewas ap- 
prenticed to a maker of porcelain, where hts talent first displayed 
itself. Fle guarreled with and left his master, and subsequently 
spent several years in most bitter poverty. After his ability as a 
most wonderful colorist was recognized, Diaz painted and sold 
many pictures, working even too constantly, as tf endeavoring by 
the accumulation of a vast fortune to avenge the poverty of his 
youth, Medals, 1844, 1846, 1848. Legion of Honor, 1851. Died, 
from the bite of aviper, 1876. Diploma to the Memory of Deceased 
Artists (Exposition Universelle), 7878, 


No. 88 


Swess Peasants, Shrine and Storm : 


44x 29. Dated 1867 


AEM F REIFSTALHL, . Berlin 


Born at Neu-Strelitz, 1827. Director of the Art School at Carlsriuhe, 
member of Berlin Academy. Medals at Berlin. In 1848 he made 
the designs for illustrating “ Kugler's History of Art.” He traveled 
much in mountainous countries, and was passionately fond of their 


SCENErY. 


dd THE PROBASCO COLLECTION. 


No. 89 
Stag and Flounds 


56 x 34. Dated 1865 


YOSEPH MELIN, .. 2 


Born in Parts, February 14,1814. Historyand animal painter. Pupil 
of Paul Delaroche and Dayid d@ Angers. Medals, 1843, 1845, 18 55, 
1858. Died, 1886. 


No. 90 
Skating Scene in Flolland 


47 x 35. Dated 1849 


ANDRE SCHELFHOUT. ~ Si@@8 


Born at The Hague, 1787, died 1870. Member of all the academies in 
Holland. Medals in Antwerp, Brussels, Ghent, and The Hague. 


No. of 
Neuvaines of the Family of Count Lgmont, 
previous to fis Execution by the Duke 
of Alva 


60 x 36. Dated 1866 


\IBARON E. C. G. WAPPERS, Gan 


Born at Antwerp, 1803, died, 1875. Painter to Leopold I. Pupil of 


the Academy of Antwerp and of Herreyns and Van Bree. Officer 
of the Legion of Honor. From 1846 to 1853 was director of the 
Academy of Antwerp. 


tp = Sa 5 ee ee 
ree he 
. “ 


ee SIF 57. Dated Togs 
’ | VERP OECK. HOCK UN A We LAU SS eos 


| es oe at Warneton (West Flanders), Ffuly 8, 1799. Medals, at Paris, 
+e 1824, 1841, 1855. Legion of Honor, 1845, chevalier of the Orders of 
Leopold, St. Michael of Bavaria, and Christ of Portugal, decora- 
tion lif the Iron Cross. Member of the Royal Academies of Belgium, | ff 
Antwerp, and St. Petersburg. Died, 1881, . 


oy 4 
3 


No. 93 


7 ; Elizabeth bee. Frederic of Bohemia recewv- 
ae ing News of the Loss of the Battle vs 
: _ Prague 


Sareea A ; O65 © 42. Dated 1868 
MGRE VON PILOTY, . .— atunin /? /7* 


Born in Munich, October 1, 1826, died there, Ffuly 27, 1886. Son of, 
and first instructed by, the lithographer, Ferdinand Piloty. Then 
pupil of Munich Academy under Schnorr, and later under his 
brother-in-law, Karl Schorn. In 1847 he visited Venice, painted 
genre pictures and at Leipsic (1849) many portraits, then visited 
Dresden, where Velasquez became his ideal; went in 1852 to Ant- 
werp and Paris, and thenceforth entered upon the path of Calvin- 
istic realism, to which he owed his great renown. In 1856 became 
Professor of Munich Academy, from 1874, director of same. 


gO THE PROBASCOMCOLLILE 7 TG, 


No. 94 


“ Peasants Bringing Home a Calf born in 
the Fields” 


/§500.EAN FRANCOIS MILLET, Rie 


Lorn at Greville, France, October TA, 181g. Pupil of Mouchel and Lang- 
lois, at Cherbourg. His progress there was so remarkable that the 
Municipality of Cherbourg gave him a small pension that he might 
go to study in Paris. In 1837 he became a pupil of Paul Delaroche 
and the friend of Corot, Théodore Rousseau, Dupré, and Diaz. 
Medals, Paris, 1853, 1864, 1867 (Exposition Universelle). Legion of 
Honor, 1868. Died, Fanuary 20,7875. Diploma to the Memory of 
Deceased Artists (Exposition Universelle), 7878. ln his whole artis- 
tic career Millet only fintshed about eighty oil paintings, many of 
which he retained in his studio for a long time, returning to them 


again and again, in order to satisfy himself. 


Lxtracis from Notes Sur les Cent Chefs-d’CEuvres, dy MZ. Albert Wolff. 


There is no more touching story than that of this great artist, who 
passed his life in poverty and loneliness. The canvases which 
now form the glory of French art passed unnoticed at the official 
Salons, disdained by the juries, the juries exclusively picked out 
of the Institute, which was omnipotent at that period, and which, 
though since somewhat transformed, was then in the systematic 
habit of rejecting the fine and living works which lift so high the 
art of France. MIULLET’S paintings, at first rejected, were after- 
ward admitted at the Salons, but with no success, the artist was 
reproached for creating ugliness—that ts to say, for not painting 
the conventional peasantry harmoniously shaped and garnished 
with all the graces. MILLET saw the peasant as a being with 
round shoulders and hollow chest, from the habit of stooping over 
the ground, with face and arms baked in the sun and tanned by 


LHE PROBASCO COLLECTION. 47. 


the wind. In those deathless masterpieces of his, the peasant ap- 
pears in the majestic verity of the human creature wrestling with 
the earth, which he impregnates and makes to live. But there 
came no awards from the Salon, no pay, no sort of encouragement, 
with the exception of the bravos of certain youthful artists and the 
applause of some rare art critics, who gradually rallied to the side 
of this original genius. Through every kind of neglect MILLET 
pursued his road, with head high and ironical lip. He had on his 
side the approbation of those whom he esteemed the most—DELA- 
CROIX, ROUSSEAU, DupRf£, Corot, Diaz, and of that other great 
artist so long overlooked, BARYE. The common struggle had estab- 
lished something like a brotherhood of arms among all these pio- 
neers. The little group marched hand in hand against superior 
numbeys—the whole sleek mediocrity of art—as a handful of heroes 
marches to fight a numerous army, with the determination to con- 
guer ‘or die. Of all those fine artists MILLET alone was not to 
know success. His destiny was cruel to the end, he fell mortally 
wounded in the combat, at the hour of the others’ triumph, When, 
finally, after such tedious struggles and such sickening toil, his 
7 art began to be talked of, the painter, struck down by sickness, had 
4 d 54 lost his strength and energy. We may say of MILLET that he died 
‘i 7 of his genius, conguered before his time, fallen to earth at the mo- 
ment when age was only just foreseen, an age that would have been 
gentle and happy, and that he left to posterity, which restores 
the balance of all things, the care of keeping his name as that of 

one of the greatest in French art. | 
Little by little, from the habit of identifying himself with the men of 
the fields, MILLET had himself become a peasant. Tall in stature, 
with powerful shoulders, witha face sun-browned but full of char- 
acter, dressed in poor clothes and with wooden shoes on his feet, he 
might have been taken fora plowman. In the peasants of his 
| works we find again the artist himself; he claimed to have got into 
f us ear his painting that which he called the cry of the earth, and the 
i one . “ugh!” of the digger whose chestwas crushed between his strokes. 
Eb nf We might say, too, that MILLET got into his painting the cry of 
. art, and the sobof the grand painter condemned to live in privation. 
Notwithstanding, before his death MILEY could see advancing toward 
him the step of justice, the never-dying, the eternal laggard. When 
for the first time, at the Exposition of 1867, the public saw a num- 
ber of his works brought together in one spot, they were struck by 
the variety of that art which till then had been called monotonous. 


4S THEY PROBASCOWCOLLEAGLION, 


A first-class medul was designed to be thrown to this grand genius, 
who, since the Salon of 1853, had not carried off any prize, there 
was even added, to do honor to the order, rather than the recipient, 
the ribbon of the Legion of Honor, which, after thirty years of 
noblest toil, was to be the consolation of this illustrious man, a 
martyr to every kind of affliction. When MILLEY died, at sixty 
years, in that village of Barbizon where all his humble and re- 
signed existence was passed, the Government manifested some 
shame at having left the illustrious artist so long in abandonment. 
It offered his widow a small pension. Itis not seemly to insist too 
much on the poor question of money when we count up the labors of 
aman who set disdainfully aside the considerations of success to be 
able to live only in his art. 

One day, while talking with me of the period of poverty which the 
artists of his generation had passed through, ROUSSEAU said: 

“ We were always without a sou, but we never spoke of money, for 
money counted for nothing tn our ambition.” 

When we speak of MILLET, it ts more seemly, again, to touch lightly on 
the question of prices, which prove nothing. The Man Hoeing, 
which represents a fortune, is no greater a work to-day than at the 
period when the great artist sold it for two thousand francs. The 
years of wretchedness which MILLET passed through will be re- 
deemed by the centuries of imperishable glory which await his 
name in the future. The humble thatched cottage of Barbi- 
zon, where the life of MILLET flowed along, pertains to history 
more than the rich mansion of a fortunate man in easy circum- 
stances, where the stone stands generally unhallowed and un- 
speaking, without a recollection of the being whose life has slipped 
through it. 


No. 95 
Floly Family 


62x76. Dated 1868 


1. FELICE, SCATAVONT | ee ee 


Biv waht 
0, nae 


Soe 
“hd 4S 1857, 1859, 1861. Legion of Honor, 1861. Medal of the 
First C ass, and officer of the Legion of Honor (at Exposition Univer- 
4 selle), 1867. Medal of Honor (Salon), 1872. Knight of the Order 
inn of Leopold, 188r. Ribbon of St. Stanislaus of Russia,  Corre- 
ae oS . es Member of the Academies of Vienna, Stockholm, and Ma- 
arid, 4 


Kore jain Line PAS Brussels, and at Paris in 


No. 97 


: Luther Wr fe, Children, and Melancthon 


OA x 50. Dated 1867 


(Perhaps only example of the artist in thts country) 


Mee SPANGENBURG,.. . Berlin 


Born at Hamburg, 1828. Royal Professor and member of the berlin 


Academy, also member of Vienna and Hanau Academies. Medals 
at Cologne, Berlin, and Vienna. In 1849 went to Antwerp Academy 
for a short time, in 1851 went to Paris and remained six years, 
studied a short time under Couture. At the National Gallery, 
Berlin, are his Luther Translating the Bible azd The Procession of 
the Dead. Ais picture of Luther with his Family zs at the Museum 
at Leipsic, and has become well known Srom the engraving by 
Louis Schulz. 


50 THE PROBASCO COLLECTION. 


, No. 98 


Landscape and Cattle, Approaching Storm 


62 x 44. Dated 18 59 


1/0000. CONSTANT TROVON, 


Born at Sévres, 1810. His parents wished him to be a painter of porce- 
lain, but, after a time spent in the manufactory at Sévres, he studied 
under Riocreux, and became a painter of landscapes and animals. 
Medals, Parts, 18 38, 1840, 1846, 1848, 1855. Legion of Honor, 1549. 
Member of the Amsterdam Academy. Died, 1865. Diploma to the 
Memory of Deceased Artists (Exposition Universelle), 7878, 


Extracts from Notes Sur les Cent Chefs-d’Ciuvres, dy AZ. Albert Wolff. 


Counted in this admirable group of painters, which throws such luster 
on French art, are men of foremost rank in every style. Historical - 
painters, character painters, landscape painters, tmaginative 
painters, men of fantasy and men of mind, technists of the palette 
and single-hearted observers of nature—all these men form in their 
assemblage a kind of quintessence of the art-spirit of France. In 
these rapid sketches the reader has successively seen what kind of 
second and third-rate professors have secured in the eye of history 
the glory of attending to the early lispings of our heroes. The 
latter, without exception, formed themselves by the direct contact 
of nature, not till after having shaken off the influences which 
weighed upon their unfortunate youth. I have named, one by one, 
the subalterns charged with the primary artistic education of 
these painters, all destined to show the mark of genius in one kind 
or another. The first instructor of TROYON was named RIOCREUX, 
a feeble light, like all those pretenders who thought they could sub- 
due to their own glimmer the great stars which were rising over 
French art. Like JULES DuPRE, the grand animal painter TROYON 
passed his first youth in a porcelain factory, like that fine landa- 
scapist, he played the prelude to his glory with just the kind of 


THE PROBASCO COLLECTION. Lis 


work which contradicts grand art by its timorous industry. The 

oe superb executant of innumerable masterpieces grew pale over his 
dishes until the day when he divined his real mission and took his 
flight. 

CONSTANT TROYON was not twenty years of age when he bade an eter- 

nal farewell to the Sévres factory. Where should he go? Straight 
ahead, without any settled course, everywhere that Nature re- 
vealed herself to his young intelligence he made halt. When he 
felt hungry, he offered his services to the first potter whom he en- 
countered on his route, and as soon as he had earned a few weeks’ 
» Sreedom at this humble toil, he grasped again his staff and his 
1s ae f | color-box and marched farther on. Now workman and now artist, 
49 he appealed in this fashion to the modest task-work of the china 
painter for the means to await the day when he should be a real 
artist. | 

Thus we find for all these men the same kind of boyhood, disturbed by 
the struggle for the daily crust. With the exception of DELACROIX 
and COROT, they were all forced to conquer from privation the 
right to shed the loftiest artistic glory over their native land. 
TROYON, for his part, only caught ata rather late date the percep- 

| Bsa i ek tion of his true pathway. There is nothing in his first manner 

; which could make us foresee the rank he was one day to assume, 

b ; his paintings bore trace for many years of the painful labor of de- 

| signing on porcelain, as the slave who has fought out his liberty 
carries the scars of the bamboo which used to plow his flesh. Tt 
needed ten years of TROYON'S life to make him forget what had 
been taught him as a lad; it was only little by little and very 
slowly that the artist was able to rid himself of the influences of 
his teaching at Sévres. 

Success came hesttatingly and painfully. Not to speak of his early 
landscapes, which do not count in his achievement, the most 
important canvases passed unnoticed. Life was hard for the 
young landscape painter. COROT, ROUSSEAU, JULES DupRE, D1Az, 
and DAUBIGNY marched in the van of the movement. Through the 
splendors, still disdained, of their painting, MILLET would throw 
off a landscape, from time to time,in a note of severity and melan- 
choly. TROYON joined in the step, as a conscript takes the road be- 
hind a squad of veteran soldiers. The first years of the painter 
were dogged by poverty, which saturated his spirit with a bitter- 

"ness Jrom which it never got free. Arrived later, by the evolution 
of his style, to renown and wealth, TROYON Preserved the gloom of 


205! £25 i es 


52 


THE PROBASCO COLLECTION. 


these humble beginnings. In this he was at fault. Did he not 


share the public neglect with the first landscape painters of the 
age? Had he suffered more, and more unjustly, than the chiefs of 
his company? And then, if [must express my full opinion, would 
the canvases of TROYON, as a landscapist, grandly brushed as — 
they are, have sufficed to establish his high renown? It was 
accident and a journey to Holland which revealed to TROYON his 
true mission, that of an animal painter of the first rank, sup- 
ported, this time, by a landscapist of very great talent, but not the 
equal of the masters. 


With this development of the artist, which promptly gave him his rank, 


success came to him rapidly. At a distance of two centuries 
TROYON continued the traditions of the celebrated Dutch animal 
painters without imitating them. PAUL POTTER was to finda suc- 
cessor worthy of him. In his journey into Holland, TROYON had 
studied the works of the grand master, and he took his line at once. 
Why had he not perceived before that the art of the animal painter 
offered inexhaustible resources to his rare endowments as a color- 
152, while tt still allowed him to remain a landscapist of lofty 


value 2? 


The great technical skill of TROYON, his matchless control of his craft, 


allowed him to grapple with all the effects of nature. In one of his 
subjects, exhibited among the Hundred Masterpieces he has painted 
a rainbow struck out from clouds charged with electricity, while on 
the other side the burst of sunshine falls upon a grand red spotted 
heifer enjoying the warm rays. The Cow at the Drinking Place, 
with The Valley of the Toucques, or The Ferry, are so many master- 
pieces of the style bespeaking TROYON’S vivid power, his enthrall- 


ing charm as a colorist. 


This new line, then, began the true career of TROYON, which was to 


make him so illustrious. Money commenced to pour in, too, along 
with honor, yet without consoling the painter for the poverty and 
neglect of the past. Bitterness became one of his habits, and he 
made his years of experiment responsible for their gropings and 
the difficulty of his quest; his mind always dwelt on his earlier 
times, when he used to sit drawing on the side of the road, cursing 
the heartless fate which was always calling him off from his art 
dream to involve him in the struggle for daily bread. Arrived at 
the height of his position, the little china painter of yesterday never 
could forgive the troubles of the former years; they were always 
coming up in his conversation, with a strongly marked resentment 


Ie RODASCOMCOLLECTION, SF 
toward his epoch. In this, TROYON, in fact, showed himself 
simply what he was, the painter whose qualities were closed up in 
his art, and who outside of art had not the balanced character 
capable of looking at things from aloft. Personally I had not the 
advantage of knowing the famous animal painter, but I learn from 
the friends who lived with him that TROYON, beyond his painting, 
; could bring no philosophy of discernment to his views of life. It 
was useless to try to comfort him in praising extravagantly the 
splendid position he'had attained, he carried the conversation in- 
cessantly back to his days of penury, and he frankly advanced the 
_ tdea that his contemporaries only redeemed a small part of their 
wrongs toward him (TROYON) in overwhelming him now with 
gold and honors. 


Undoubtedly it would have been more dignified, and even more just, to 


refrain from traveling eternally over those years of effort, but so 
was TROYON constituted. It was his nature to dwell ona fixed 
idea, the recognition coming from all quarters was only his due; 
he could not putit to the credit of his contemporaries, he had been 
so long in the struggle that he fancied success and prosperity 
might again leave him in the lurch. We might even discover, per- 
haps, at the bottom of this morbid nature an exaggerated attribu- 
tion of genius to himself. It was thus that he took measures in his 
lifetime for assuring his name an immortality in establishing a 
“prize, bearing the name of TROYON, and pledging to the successful 
competitor among the young animal painters the means of working 
in peace for a term of years. 


Over the death of TROYON there has been formed a legend pretending 


that he was killed by disease resulting from the poverty of his 
youth. There is no truth in this. The admirable painter of ant- 
mals had only to blame his own exacting temperament if death 
mowed him down toward his sixtieth year, when all the other grand 
artists, whose sufferings had been as sore and even greater than his 
own, were forgetting the first troubles with the first success, A 
man does not die of poverty after he has finally bidden tt farewell 
Jor more than twenty years. TROYON dted comparatively young 
because his temperament killed him by overreaching itself in every- 
thing, good as well as evil. He worked too much and tormented 
himself too much, he indulged himself more than was proper with 
the joys of life; and that ts the reason he died at an age when, with 
more self-balance, he might have seen before him long years of pro- 
duction and celebrity, 


i 


54 


THE PROBASCO COLLECTION. 


No. 99 


Battle of the Frsts before Ivan the 
lerrible 


74x 52. Dated 1863 


Bla Se ae : ; . St. Petersburg 


FISTIC COMBAT DURING THE REIGN OF CZAR ¥OHN THE TERRIBLE 


“These fistic combats were performed under the reign of the Czar Fohn 
the Terrible, in his presence, to entertain his subjects. 

“The famous Terebejewttsch, favorite of the Czar, had taken the liberty 
to offend the wife of Kalaschnikoff, a merchant, when she was going 
home from church. She rid herself of him, ran home, and informed 
her husband as to what had happened. 

“The following day the fistic combat would take place; Kalaschnikoff 
was resolved to fight with Terebejewitsch. The painting represents 
the moment where Terebejewitsch has already had a combat, and 
is expecting a new combatant. Kalaschnikoff steps forward, and, 
though detained by the entreaties of his wife, is resolved, for the 
honor of his wife, to fight with Terebejewitsch for death or life. The 
merchant, Kalaschnikoff, killed Terebejewitsch, but was afterward 
hanged by the commard of the Czar, for having slain his favorite. 

‘On the tribune ts the Czar sitting with his attendants. At the right 
of the picture are the relations of the killed combatant. At the left 
side the fools of the Czar are sitting one upon another, beside them 
are the musicians, and between them, standing a little higher, a 
man holding up a cup, the prize for the victor.” 


No. 100 


Napoleon. The Return from Elba 


75x60. Dated 1864 


¥% LOH BELLANGE 


Lorn at Paris, February 16, 1800, died there, April ro, 1866. History 
and genre painter, pupil of Gros and of the Ecole des Beaux Arts, 


THE PROBASCO COLLECTION. 55 


Exhgbited in nearly every Salon from 1822 to 1866. Medals, 1824, 


1855. Member of the Legion of Honor, 1834; officer of the same, 
1861. Director of the Rouen Museum, 1837-54. 


No. ror 
Large Roman Mosaic 


: 586 x 31K 


Vas TO2 


Mother Love 


52x78. Dated 1868 


WILHELM VON KAULBACH, Munich 7 


Born at Arolsen, October 15, 1805. Pupil of Diisseldorf and Munich 
Academies, under Cornelius. In r84g appointed director of Munich 
Academy. He was an officer of the Legion of Honor, Grand Com- 
mander of the Order of St. Michael ; Commander of the Order of 
Francis Joseph, and Corresponding Member of the Institute of 
France and of several academies, Died in Munich, April 7, 1874. 


AMERICAN ART ASSOCIATION, 


Managers. 
THOMAS E. KIRBY, Auctioneer. 


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